Inside Llewyn Davis
"Inside Llewyn Davis" is the most satisfyingly diabolical cinematic structure that the Coens have ever contrived, and that's just one reason that I suspect it…
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
Marie writes: Much beloved and a never ending source of amusement, Simon's Cat is a popular animated cartoon series by the British animator Simon Tofield featuring a hungry house cat who uses increasingly heavy-handed tactics to get its owner to feed it. Hand-drawn using an A4-size Wacom Intuos 3 pen and tablet, Simon has revealed that his four cats - called Teddy, Hugh, Jess and Maisie - provide inspiration for the series, with Hugh being the primary inspiration. And there's now a new short titled "Suitcase". To view the complete collection to date, visit Simon's Cat at YouTube.
Marie writes: Widely regarded as THE quintessential Art House movie, "Last Year at Marienbad" has long since perplexed those who've seen it; resulting in countless Criterion-esque essays speculating as to its meaning whilst knowledge of the film itself, often a measure of one's rank and standing amongst coffee house cinephiles. But the universe has since moved on from artsy farsty French New Wave. It now prefers something braver, bolder, more daring...
Michael Haneke's "Amour," which won the Palme d'Or last May at Cannes, was voted Saturday the best film of 2012 by the prestigious National Society of Film Critics. The award, coming on the eve of voting for the 2013 Academy Awards, confirms "Amour" as a Best Foreign Film frontrunner. Other NSFC winners will also draw welcome attention.
With the 2013 Oscarcast moved up to Feb. 24, movie fans are already in a lather over the possible nominees, especially since again this year there can be "up to" ten finalists in the Best Picture category. I claim no inside knowledge (I'm still waiting to hear from my friend Deep Oscar), but it's never too early to speculate.
Marie writes: The ever intrepid Sandy Khan shared the following item with the Newsletter and for which I am extremely glad, as it's awesome..."Earlier this year, the Guggenheim Museum put online 65 modern art books, giving you free access to books introducing the work of Alexander Calder, Edvard Munch, Francis Bacon, Gustav Klimt & Egon Schiele, and Kandinsky. Now, just a few short months later, the Metropolitan Museum of Art has launched MetPublications, a portal that will "eventually offer access to nearly all books, Bulletins, and Journals" published by the Met since 1870."
Movies usually present the life and religion of conservative masses as that of simple-minded, bigoted country bumpkins. Paul Thomas Anderson's "The Master" (2012) explores the life and religion of the liberal elite, presenting them as sophisticated frauds eagerly exploiting eagerly exploitable colleagues. If we spoke of "There Will Be Blood" (2007) as "madness," we might accurately speak of this film as "intoxication." And, as is the case with the previous film, "The Master" is amazing in its characterizations, sails us through its cinematography and faded colors, but its narrative confuses us. It is said to be a story about the development of Scientology, but it also recalls Byrne's "The Secret," as well as most every television healer on either side of the Atlantic or Pacific. I don't know that the story is about the religion or the cult leader, as much as it is about the rabid pit-bull he keeps on his leash.
I apologize for the lack of postings the last few weeks. A recent flare-up of heart problems left me with little energy to write. But as the emaciated old man in "Monty Python and the Holy Grail" says: "I'm feeling much better!"
At one point well into Paul Thomas Anderson's "The Master" I thought that the movie was going to reveal itself as a story about the meaninglessness of human existence. But that notion was based on a single piece of aphoristic, potential-thesis-statement dialog that, like much else, wasn't developed in the rest of the movie. Which is not to say that "The Master" isn't about the meaninglessness of human life. The line, spoken by Lancaster Dodd (Philip Seymour Hoffman), the cult guru known to his acolytes as Master, is addressed to the younger man he considers his "protégé," a dissolute mentally ill drifter named Freddie Quell (Joaquin Phoenix), and the gist of it is that the itinerant Freddie has as much to show for his life as somebody who has worked a regular 9-to-5 job for many years. The point being, I suppose, that for all Freddie's adventures, peculiarities and failures, he isn't all that much different from anybody else. Except, maybe, he's more effed-up.
Marie writes: Intrepid club member Sandy Kahn came upon the following recipe and wisely showed it to me, so that I might share it in turn with all of you. Behold the morning chocolate cookie - a healthy breakfast treat loaded with good stuff; like fiber and imported French chocolate.
"Dear Mr. Spider;I am profoundly sorry to have taken you from your home in the woods, when I was picking Himalayan Blackberries on Monday afternoon. I didn't see you fall into my bucket and which was entirely my fault; I must have bumped into your web while reaching for a berry. Needless to say, I was surprised upon returning home with my bucket full, to suddenly see you there standing on a blackberry and looking up at me." - Marie
(photo recreation of incident)
Marie writes: Once upon a time, a long time ago and in a childhood far, far away, kids used to be able to buy a special treat called a Frosted Malt. Then, with the arrival of progress and the subsequent destruction of all that is noble and pure, the world found itself reduced to settling for a frosty at Wendy's, at least where I live. Unable to support a "second rate" frosted malt for a second longer, I decided to do something about it!
Marie writes: As some of you may know, it was Roger's 70th birthday on June 18 and while I wasn't able to give the Grand Poobah what I suspect he'd enjoy most...
Siskel & Ebert fight over a toy train (1988)
Marie writes: I've never seen this done before - and what an original idea! Gwen Murphy is an artist who breathes new life into old shoes, transforming them from fashion accessories into intriguing works of art. Thanks go to club member Cheryl Knott for telling me about this. (Click to enlarge.)
Marie writes: Yarn Bombing. Yarn Storming. Guerilla Knitting. It has many names and all describe a type of graffiti or street art that employs colorful displays of knitted or crocheted cloth rather than paint or chalk. And while yarn installations may last for years, they are considered non-permanent, and unlike graffiti, can be easily removed if necessary. Yarn storming began in the U.S., but it has since spread worldwide. Note: special thanks go to Siri Arnet for telling me about this cool urban movement.
This is the last of my lists of the best films of 2010, and the hardest to name. Call it the Best Art Films. I can't precisely define an Art Film, but I knew I was seeing one when I saw these. I could also call them Adult Films, if that term hadn't been devalued by the porn industry. These are films based on the close observation of behavior. They are not mechanical constructions of infinitesimal thrills. They depend on intelligence and empathy to be appreciated.
They also require acting of a precision not necessary in many mass entertainments. They require directors with a clear idea of complex purposes. They require subtleties of lighting and sound that create a self-contained world. Most of all, they require sympathy. The directors care for their characters, and ask us to see them as individuals, not genre emblems. That requires us to see ourselves as individual viewers, not "audience members." That can be an intimate experience. I found it in these titles, which for one reason or another weren't on my earlier lists. Maybe next year I'll just come up with one alphabetical list of all the year's best films, and call it "The Best Films of 2011, A to Z."
An old friend and I reunited for the first time in 13 years in Washington, DC last month, and the talk eventually turned to Facebook, the primary way we've managed to keep in touch, at least recently. I have a particular trait, usually reserved for after a night out on the town, by which friends can easily identify the level of my joviality, when I post videos of classic rock songs. Despite my assertion that a certain amount of fastidiousness should be necessary when it comes to sharing links on Facebook, I tend to disregard my own advice and post widely popular songs by legendary bands, for which I apologized to my friend.
Edited by Marie Haws, Club SecretaryFrom Roger Ebert: Club members receive the complete weekly Newsletter. These are abridged and made public on the site three weeks later. To receive the new editions when they're published, annual dues are $5. Join here.From The Grand Poobah: Reader Steinbolt1 writes in: "Mark Mayerson has been putting together mosaics of all the scenes from specific Disney animated films, and is currently working through Dumbo. Each scene has the specific animator(s) who worked on the film listed above it. This is my favorite post on Dumbo, so far: Mayerson on Animation: Dumbo Part 5 "The only humans we've seen previously are in sequence 3. They are all white and wearing uniforms that clearly mark them as circus employees. When we get to this sequence, the only humans we see are black. As they are disembarking from a railroad car, we know that they are also employees, but they don't get uniforms. The roustabouts are the ones who do the heavy lifting, regardless of the weather. Why aren't the rest of the employees helping? I guess the work is beneath them. Let's not forget that the circus wintered in Florida, at the time a Jim Crow state." - Mark Mayerson; animator, writer, producer, director, Canadian.
From The Grand Poobah: Reader Steinbolt1 writes in: "Mark Mayerson has been putting together mosaics of all the scenes from specific Disney animated films, and is currently working through Dumbo. Each scene has the specific animator(s) who worked on the film listed above it. This is my favorite post on Dumbo, so far:
Mayserson on Animation: Dumbo Part 5"The only humans we've seen previously are in sequence 3. They are all white and wearing uniforms that clearly mark them as circus employees. When we get to this sequence, the only humans we see are black. As they are disembarking from a railroad car, we know that they are also employees, but they don't get uniforms. The roustabouts are the ones who do the heavy lifting, regardless of the weather. Why aren't the rest of the employees helping? I guess the work is beneath them. Let's not forget that the circus wintered in Florida, at the time a Jim Crow state." - Mark Mayerson; an animator, writer, producer, director and Canadian. :-)
From the Grand Poobah: Club members Gerardo and Monica Valero from Mexico City went to see the David Letterman Show a few years ago and informed him of something that is discussed on the air...
I saw my final film of Sundance 2010 here in Chicago. It was my best Sundance experience, and I want to tell you why. The film was "Jack Goes Boating," the directorial debut of Philip Seymour Hoffman. It played here in the Music Box, as part of the "Sundance USA" outreach program, which has enlisted eight art theaters around the country to play Sundance entries while the festival is still underway.
The Music Box is the largest surviving first run movie palace in Chicago. It is deeper than it is wide, and has an arching ceiling where illusory clouds float and stars twinkle. Many shows are preceded by music on the organ.
"Synecdoche, New York" is the best film of the decade. It intends no less than to evoke the strategies we use to live our lives. After beginning my first viewing in confusion, I began to glimpse its purpose and by the end was eager to see it again, then once again, and I am not finished. Charlie Kaufman understands how I live my life, and I suppose his own, and I suspect most of us. Faced with the bewildering demands of time, space, emotion, morality, lust, greed, hope, dreams, dreads and faiths, we build compartments in our minds. It is a way of seeming sane.
The mind is a concern in all his screenplays, but in "Synecdoche" (2008), his first film as a director, he makes it his subject, and what huge ambition that demonstrates. He's like a
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Tina Mabry's "Mississippi Damned," an independent American production, won the Gold Hugo as the best film in the 2009 Chicago International Film Festival, and added Gold Plaques for best supporting actress (Jossie Thacker) and best screenplay (Mabry). It tells the harrowing story of three black children growing up in rural Mississippi in circumstances of violence and addiction. The film's trailer and an interview with Mabry are linked at the bottom.
Kylee Russell in "Mississippi Damned"
The winner of the Audience Award, announced Friday, was "Precious" (see below). The wins came over a crowed field of competitors from all over the world, many of them with much larger budgets. The other big winner at the Pump Room of the Ambassador East awards ceremony Saturday evening was by veteran master Marco Bellocchio of Italy, who won the Silver Hugo as best director for "Vincere," the story of Mussolini's younger brother. Giovanna Mezzogiorno and Filippo Timi won Silver Hugos as best actress and actor, and Daniele Cipri won a Gold Plaque for best cinematography.
Based on his show-stopping speech at Saturday night's Independent Spirit Awards, if Mickey Rourke wins an Oscar on Sunday night the Oscarcast is going to be a lollapalooza. As his comeback film "The Wrestler" won for best film, male actor and cinematography, Rourke brought the show to a halt and the audience to its feet with an acceptance speech that was classic Mickey. The Indie Spirits are telecast live and unbleeped, which added considerably to the speech's charm.
John Patrick Shanley's comical film of his four-character Pulitzer-winning play "Doubt" is a flamboyantly theatrical sermon on the virtues of conviction. It should be seen in conjunction with a reading of Malcolm Gladwell's best-selling "Blink" because, no matter what the dialog may tell you, it's more an affirmation of gut instinct than an exploration of the title commodity.
You can see why all the adult principals -- Meryl Streep as Sister Aloysius, Philip Seymour Hoffman as Father Flynn, Amy Adams as Sister James and Viola Davis as Mrs. Miller -- have been nominated for Oscars (but is Hoffman's a supporting performance or the male lead?). This is juicy stuff, played to the hilt as you'd expect -- and as much for laughs as for melodrama (which I hadn't expected, but which came as a happy surprise).
If it remains more of a theatrical experience than a cinematic one (despite being photographed by Roger Deakins), that's probably because Shanley's ambitions are limited to delivering the "movie version" of his own hit play. I can imagine "Doubt" working more convincingly in the abstract setting of the stage (though I haven't seen it performed that way), where it sported the subtitle: "A Parable." But there's no doubt it's a bake-sale bonanza for the movie actors, who give overtly stylized performances in realistic settings, all goosed-up with stage flourishes -- thunderstorms and balcony-pitched arias and surprise entrances and exits timed to build tension and frustrate satisfaction. (It's said Shanley added some of these devices just for the movie -- which, if you think about it, is you might expect somebody with an intrinsically theatrical sensibility to do to "open up" a play for film.)
What I didn't expect was the outlandishly broad comedy of Streep's "The Devil Wears a Bonnet" performance. I think that is probably a compliment, and I don't think she's getting enough credit for how funny she is. "Doubt" may be a work that touches on Serious Issues (sex abuse in the church, the evils of gossip, the weighing of greater and lesser sins, the obligations of that come with intuition and experience -- and the paradoxes of doubt) but it's also by the guy who wrote "Moonstruck" and "Joe Versus the Volcano." Streep attacks it with sketch-comedy gusto, and there were whole scenes, memorably the inspection of Sister James' classroom and the high-voltage showdowns between Sister Aloysius and Father Flynn, when I couldn't stop chortling like a schoolboy. I don't believe my laughter was inappropriate:
Flynn: "Where's your compassion?"
Aloysius: "Nowhere you can get at it."
That's a doozy of a punch line, and Streep knows it. (If I'm wrong about that, then there hasn't been a performance this misconceived since Faye Dunaway in "Mommie Dearest.")
But where does the "doubt" come in?
What, no love for 'What happens in Vegas'?
In a startling upset, "The Dark Knight" failed to make the cut in the Best Picture category Thursday, as this year's Academy Awards nominees were announced. The Batman drama, second top-grossing film of all time after "Titanic," was also a critical favorite and looked to many like a shoo-in.